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Antiquity and Authorship of the Chauvet Rock Art

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Antiquity and Authorship of the Chauvet Rock Art Rock Art Research 2007 - Volume 24, Number 1, pp. 21-34. R. G. BEDNARIK 21 KEYWORDS: Pleistocene rock art – Aurignacian – Dating – Cave bear – Ethnicity ANTIQUITY AND AUTHORSHIP OF THE CHAUVET ROCK ART Robert G. Bednarik Abstract. The veracity of the carbon isotope dating att empts relating to the rock art in Chauvet Cave is reviewed, together with the merits of their criticisms. The att ribution of the cave art to the Aurignacian is validated by several factors and stylistic objections are refuted. The question of the ethnicity of the Aurignacian artists is also considered, leading to the cognisance that they are very unlikely to have been ‘anatomically modern’ humans. There is currently no sound evidence that the ‘Aurignacians’ were not robust Homo sapiens people, i.e. Neanderthals or their descendants. The gracilisation humans experienced in the Final Pleistocene and Holocene is att ributed not to evolutionary processes, but to cultural intervention through breeding preferences leading to the neotenous features characterising present-day humans. Introduction However, the use of stylistic argument (i.e. rhetoric The most painstakingly studied and also one of based on untestable cognitive processes involving the most pristine Palaeolithic cave art sites known autosuggestion) needs to be questioned. Scientifi c is Chauvet Cave in the French Ardèche (Chauvet et propositions need to be falsifi ed, but not by non- al. 1995; Clott es 2001). The standard of the fi eldwork scientifi c notions that are themselves inaccessible being carried out there is peerless (Bednarik 2005). to falsifi cation. The issue is not whether stylistic The site’s rock art is also the best-dated among the constructs are valid; the issue is that they are European Pleistocene rock art sites so far subjected intuitive. To see how such revisionist eff orts fare in to any form of scientifi c dating (Clott es et al. 1995; the case of Chauvet Cave, I off er the following for Valladas and Clott es 2003; Valladas et al. 2004). consideration. Interestingly, the Chauvet Cave dating endeavours have att racted more sustained criticism than any The question of antiquity of the other att empts to date European Pleistocene Among the 3703 identifi ed faunal remains found cave art (Zuechner 1996; Pett itt and Bahn 2003). on the fl oor surface of the extensive cave, those of The reason for this is that the Chauvet results were the cave bear account for 91.8% (Philippe and Fosse the fi rst severe challenge to the traditional stylistic 2003), and there are about 315 identifi able cave bear chronology of Upper Palaeolithic rock art (Bednarik hibernation pits preserved in the cave. Clearly it 1995a). There is considerable disagreement on was a bear hibernation site, like thousands of others this point, with some authors defi ning Chauvet as across Europe (Bednarik 1993), and probably so for blending in well with aspects of style and content of tens of millennia. The most recent cave bear fi nds in secure Aurignacian art, such as the series of portable the main cave are about 24 000 years old, while the objects from south-western Germany, with others Salle Morel, a small side chamber, appears to have rejecting the Aurignacian antiquity of Chauvet on remained open to that species until 19 000 years the basis of their individual stylistic constructs, and ago (Fig. 1). The timing of the collapse of the cave favouring its placement in the Magdalenian. entrances is confi rmed by the recent dating to 18 000 It is very healthy to subject scientifi c propositions bp of a stalagmite grown on one of the uppermost to falsifi cation att empts, and all current dating collapse boulders inside the blocked original entrance. claims for rock art, anywhere in the world, are The collapse must have occurred signifi cantly earlier, tentative and based on experimental methods. and since about 24 000 years ago, the cave was only They are presentations of testable data, and need entered by small animals, such as snakes, martens to be interpreted in the context of the considerable and bats. On present evidence, a Magdalenian age of qualifi cations that apply to them all (Bednarik 2002). the rock art is therefore precluded by this context. It is 22 Rock Art Research 2007 - Volume 24, Number 1, pp. 21-34. R. G. BEDNARIK cave bear remains have been observed on the cave fl oor, two in the Salle des Bauges and one in the Salle du Crâne (Clott es 2001; Bednarik 2005). They are of importance to the relative dating of the human activity in the cave (see below). Generally, this evidence is in excess of 30 000 years old at the known sites, and if the fi nds in Chauvet are of the same tradition, which seems very likely, the fi rst phase of the cave’s human use must also predate that time. That does not necessarily prove that the cave’s early rock art phase has to be of the same period, but the onus to demonstrate that it is not is on those rejecting the Aurignacian att ribution of this art. No such refuting evidence has been off ered, and the doubters seem to be inspired by traditional stylistic reasoning alone. Some of their arguments are mistaken or simply false: Nevertheless, the rock and cave art which is defi nitely known to be Aurignacian looks prett y crude and simple, a long way from Chauvet — which of course is why the Chauvet dates caused such a shock. […] what are the chances that a single Aurignacian cave would contain so many diff erent features, themes, styles and techniques which, over a hundred years of study, have become so strongly and indubitably associated with later periods? (Pett itt and Bahn 2003: 139) Very litt le rock art can be att ributed to the Aurig- nacian (or for that matt er to any other period, any- where in the world) with adequate confi dence to make such sweeping claims. The conceptually most complex portable art of the Upper Palaeolithic is of the Aurignacian rather than the subsequent purported tool industries. It includes the two lion-headed therianthropes from Swabia (Hohlenstein-Stadel, Schmid 1989; and Hohle Fels, Conard et al. 2003) and the anthropomorph from Galgenberg (Bednarik 1989), so why should we be ‘shocked’ to observe a similar level of sophistication in Aurignacian rock art? ‘Aurignacians’ seem to have been somewhat interested in ‘dangerous animals’ and female sexua- lity, and these do feature prominently enough in Chauvet. Probable vulva symbols or ‘pubic triangles’ have been reported from Abris Blanchard, Castanet, Cellier and du Poisson, La Ferrassie, Laussel (Delluc and Delluc 1978; contra Bahn 1986) and now from Figure 1. Floor plan of Chauvet Cave, showing the Chauvet Cave. Also, the creation of naturalistic locations of three intentional depositions of cave bear female statuett es of emphasised sexuality (whose bones. form is refl ected in the partial female anthropomorph on a stalactite in Chauvet’s Salle du Fond) begins with the Aurignacian. Moreover, it is obvious that also precluded by the simple fact that clear depictions Chauvet comprises two art traditions, so the variety of cave bears occur in Chauvet, and that this species of content and techniques is also no surprise to those is thought to have been extinct in the region by the with an open mind. beginning of the Magdalenian (Rabeder et al. 2000: Finally, Chauvet is certainly not alone. I have long 107). The distinctive shape of the forehead of this considered the early phase of the cave art in Baume species, distinguishing it from the brown bear, is not Latrone to be of the Aurignacian (which is also very just clearly indicated, it is emphasised in some of the complex; Bégouën 1941; Drouot 1953; Bednarik 1986). depictions. Moreover, the small corpus of l’Aldène, refl ecting So far, three instances of anthropic deposition of the principal faunal elements in the Chauvet art, was Rock Art Research 2007 - Volume 24, Number 1, pp. 21-34. R. G. BEDNARIK 23 created before the decorated passage became closed order of 39 280 ± 110 bp, derived from a large series (36 30 260 ± 220 bp (Ambert et al. 2005: 276–7; Ambert and determinations from 18 samples) of high-precision Guendon 2005). Other sites will no doubt be found single-crystal 40Ar/39Ar measurements (De Vivo et al. to belong to those early traditions, and the stylistic 2001). Alternatively, Fedele and Giaccio (2007) have daters will need to signifi cantly revise their ideas of proposed that a signifi cant volcanogenic sulphate sig- Aurignacian and other Upper Palaeolithic rock art. nal in the GISP2 ice core, occurring precisely 40 012 It is more appropriate to ask, what are the chances bp, represents the Campanian eruption. Therefore, that Zuechner’s idea, that all of the charcoal images in southern France, carbon isotope dates only so far analysed in Chauvet are derived from fossil marginally lower than the carbon age of the CI event wood, is correct? Over forty carbon isotope results may well be several millennia too low, and the true are now available from the site, including of charcoal age of the early Chauvet phase could theoretically be from the fl oor. Far more likely than the involvement as high as 36 000 or 38 000 bp. of fossil wood would be the use of much earlier On that basis alone, this rock art is more likely charcoal, but that argument is not even made in older than the carbon isotope results suggest, rather respect of Chauvet, perhaps because some of the dates than much younger, as the stylists claim.
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